Deleted
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Post by Deleted on Apr 22, 2017 14:23:34 GMT
Mauro Bolognini's From a Roman Balcony (or, La giornata balorda) is my choice... It's a hot summer day in 1960 Rome, and young Jean Sorel is having a hard time keeping his clothes on.  While that's probably enough to entice most people to watch, the film has so much more to offer than simply its lush cinematography and jazz-driven score. Even in what is believed to be a highly-edited version (Italian censorship laws of 1960 were not kind to this sultry film), it offers a surprisingly trenchant social commentary - you might see many similarities between this and Antonioni's La notte, though personally, I find this to be the better, more engaging film. Sorel plays Davide, a young man from the Roman slums who is searching for employment to support his infant son and teenaged fiancée - the film follows him during the course of one day. Co-starring Lea Massari (you know her from L'Avventura the very same year - she played Anna, the girl who disappears).
The opening shot is simply awe-inspiring: And so begins the film's exploration of architectural modernity, social transformation, and class contradiction... If you're interested in seeing it, shoot me a PM. It's available online with English subtitles. Okay, now what's your choice?  |
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Post by Tommen_Saperstein on Apr 22, 2017 18:59:19 GMT
Gotz Spielmann's Revanche!!
Achingly beautiful tale of loss, revenge, and misdirected anger. One of the most humanistic films I've ever seen, where every character's feelings, actions, and motivations are framed in such a way as to make them both infinitely tragic and desperately sympathetic. Spielmann's approach makes it almost impossible to point fingers at his characters for their roles in the movie's central tragedy, instead engendering compassion for their pain and understanding for their decisions. Set against the quiet backdrop of the Austrian country, the characters work through their grief mostly in silence and isolation like a kind of therapy, and it feels like Spielmann is there with them holding their hands.
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Deleted
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Post by Deleted on Apr 22, 2017 19:05:06 GMT
Buñuel's The Milky Way. It really deserves to be remembered as some of his best work.
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Post by Kings_Requiem on Apr 22, 2017 19:33:10 GMT
Mikey and Nicky (1976)
Neighbors (1981)
Miracle Mile (1989)
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Post by taranofprydain on Apr 22, 2017 21:14:02 GMT
Just one? There are so many. I am finishing up a 1943 film called Tender Comrade with Ginger Rogers on Warner Archive Instant, and its wonderful.
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Post by cheesecake on Apr 24, 2017 4:20:44 GMT
Mikey and Nicky (1976) Neighbors (1981) Miracle Mile (1989) Miracle Mile is so underrated. |
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jakob
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Post by jakob on Apr 24, 2017 6:56:39 GMT
Heavyweights (1995)
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Film Socialism
Based
99.9999% of rock is crap
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Post by Film Socialism on Apr 24, 2017 7:38:10 GMT
one from every decade
J'accuse! (Gance, 1919)
The Wedding March (von Stroheim, 1928)
Les miserables (Bernard, 1934)
Dreams That Money Can Buy (Richter, 1947)
Cairo Station (Chahine, 1958)
Herostratus (Levy, 1967)
India Song (Duras, 1975)
The Age of the Earth (Rocha, 1980)
Abraham's Valley (de Oliveira, 1993)
In Vanda's Room (Costa, 2000)
Leviathan (Castaing-Taylor & Paravel, 2012)
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tobias
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Post by tobias on Apr 24, 2017 15:40:13 GMT
Borrowing Film Socialism's format True Heart Susie (1919) Genuine (1920) Liebelei (1933) A Canterbury Tale (1944) La Seine a rencontré Paris (1957) Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (1965) - for something more accesible try Le signe du lion (1962) Lisa e il diavolo (1973) Mammame (1986) Nun va Goldoon (1996) Porto da Minha Infância (2001) Mistérios de Lisboa (2010) |
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Deleted
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Post by Deleted on Apr 24, 2017 21:33:36 GMT
Adua and Her Friends, an Italian drama starring Simone Signoret, a perfectly-cast Sandra Milo and the late Emmanuelle Riva. There's also a beautiful jazz score and the final scene is quite memorable. At the moment it's available on YouTube for those interested.
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Post by moonman157 on Apr 24, 2017 21:49:35 GMT
Borrowing Film Socialism 's format True Heart Susie (1919) Genuine (1920) Liebelei (1933) A Canterbury Tale (1944) La Seine a rencontré Paris (1957) Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (1965) - for something more accesible try Le signe du lion (1962) Lisa e il diavolo (1973) Mammame (1986) Nun va Goldoon (1996) Porto da Minha Infância (2001) Mistérios de Lisboa (2010) You know most of us are English speakers right? |
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Post by theycallmemrfish on Apr 24, 2017 22:55:08 GMT
Prince of the City.
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tobias
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Post by tobias on Apr 24, 2017 22:57:50 GMT
Borrowing Film Socialism 's format True Heart Susie (1919) Genuine (1920) Liebelei (1933) A Canterbury Tale (1944) La Seine a rencontré Paris (1957) Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (1965) - for something more accesible try Le signe du lion (1962) Lisa e il diavolo (1973) Mammame (1986) Nun va Goldoon (1996) Porto da Minha Infância (2001) Mistérios de Lisboa (2010) You know most of us are English speakers right? Yeah, I listed Liebelei as Liebelei because I think that's the more well known title (Flirtation sounds bad also) and then I just went along with the original title because otherwise I'd feel like I'd prefer one movie's original title over another one. Here is a translation though if you want: True Heart Susie (1919) Genuine (1920) Liebelei (1933) A Canterbury Tale (1944) The Seine Meets Paris (1957) Not Reconsiled (1965) - for something more accesible try The Sign of Leo (1962) Lisa and the Devil (1973) Mammame (1986) A Moment of Innocence (1996) Porto of my Childhood (2001) Mysteries of Lisbon (2010) |
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Post by Mattsby on Apr 25, 2017 1:50:00 GMT
The Legend of the Holy Drinker (1988)
Only available on a Region 0 DVD from overseas, this is a masterful and beautiful and elegiac film about Andreas (Rutger Hauer), a homeless drunk wandering around Paris. Ermanno Olmi (Tree of Wooden Clogs, Il Posto) first offered the role to De Niro - who declined. Hauer - after a string of horror/genre films - gives here an all-time great performance. He's hauntingly poetic, with his wine-purpled lips and mournful eyes. It's a delicate and deeply felt performance. Largely dialogue-less, he's tasked with carrying the film on his shoulders.
I think this is pretty much an essential film for cinephiles and actors. And esp Rutger Hauer fans! Criterion NEEDS to get around to this film - they've already done a couple Olmi's.
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Post by mikediastavrone96 on Apr 25, 2017 2:00:00 GMT
With sekula gone, I'll be the one to take up the cause to get some people to see the Yugoslav film Balkan Spy. The plot is your usual: a former Stalinist suspects his sub-tenant is a threat to national security and spies on him as hilarity ensues.
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Post by stephen on Apr 25, 2017 2:01:41 GMT
Smokin' Aces and Lucky Number Slevin make a badass double-feature.
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Post by Mattsby on Apr 25, 2017 2:43:22 GMT
With sekula gone, I'll be the one to take up the cause to get some people to see the Yugoslav film Balkan Spy. The plot is your usual: a former Stalinist suspects his sub-tenant is a threat to national security and spies on him as hilarity ensues. I really enjoyed this film - I generally love the theme of surveillance. There were some political aspects that went over my head but it didn't detract from the whole - the camerawork/colors are often striking, the acting is strong, the writing very strong/clever, and the sense of humor is wonderfully nerved and manic. Needs a Criterion release I'd say! |
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Post by cheesecake on Apr 25, 2017 3:57:55 GMT
The Legend of the Holy Drinker (1988) Only available on a Region 0 DVD from overseas, this is a masterful and beautiful and elegiac film about Andreas (Rutger Hauer), a homeless drunk wandering around Paris. Ermanno Olmi (Tree of Wooden Clogs, Il Posto) first offered the role to De Niro - who declined. Hauer - after a string of horror/genre films - gives here an all-time great performance. He's hauntingly poetic, with his wine-purpled lips and mournful eyes. It's a delicate and deeply felt performance. Largely dialogue-less, he's tasked with carrying the film on his shoulders. I think this is pretty much an essential film for cinephiles and actors. And esp Rutger Hauer fans! Criterion NEEDS to get around to this film - they've already done a couple Olmi's. I remember you mentioning this film before. Sounds really interesting. I love Hauer. |
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